It’s the opinion of a number of people—professionals and laymen alike—that we’ve entered a second golden age of television. This is simultaneously great and really annoying. As the New York Times’ David Carr wrote, “The vast wasteland of television has been replaced by an excess of excellence that is fundamentally altering my media diet and threatening to consume my waking life in the process.”

Here, in no particular order, is our not-at-all-exhaustive list of picks.

Broad City (Comedy Central)
Let me take this time to apologize to any and every one I’ve had a conversation with this year from my best friends to my bank tellers, because chances are I’ve waxed poetic for an annoyingly unnecessary amount of time about my love for Broad City. But I can’t help it; Abbi Jacobson and Ilana Glazer were two of the most authentic people on the Internet, and their television series has only help solidify their unique, unapologetic, and hilarious point of view. There isn’t another pair in the biz who can make a storyline about hiding weed in your lady business seem downright charming. —Brianna Wellen

Jane the Virgin (CW)
Listen, I know what you’re thinking. How could a show about a virgin who gets artificially inseminated with her boss’s sperm right before her cop boyfriend, who is investigating said boss, proposes while the whole time her long-lost television-star father is trying to meet her for the first time actually be good? I have two answers for you: hilarious self-awareness and Gina Rodriguez. The show cleverly leans into its absurdities making for a near parody of melodramatic television, and Rodriguez is completely lovely, relatable, and down-to-earth as Jane, despite her telenovela life. —Brianna Wellen

Review (Comedy Central)
One of the best episodes of television this year also had the best title: “Pancakes, Divorce, Pancakes.” Forrest MacNeil (Andy Daly) reviews life experiences sent into him by “viewers” like attending the prom, being a racist, and becoming an addict. His only rule is that he must follow through on every request, no matter what. What starts as a nonsensical, satirical show turns into a character study of a man whose life completely devolved once he, in the aforementioned episode, reviews eating 15 pancakes in one sitting, divorcing his wife, and eating 30 pancakes in another sitting. —Brianna Wellen

Transparent (Amazon)
Though it’s sprinkled liberally with sex, drugs, and narcissism, Transparent was one of the more heartwarming series I had the pleasure of watching this year. It stars Jeffrey Tambor as Maura Pfefferman, a middle-aged (and then some) trans woman who comes out to her ex-wife (Judith Light) and adult children played by Jay Duplass, Gaby Hoffmann, and Amy Landecker. Maura’s announcement is initially met with confusion and even resentment, mostly because her younger children feel inconvenienced and slightly appalled by her new life. But although the Pfeffermans initially appear as self-involved as another one of Tambor’s TV families, creator Jill Soloway challenges them and the audience to reconsider the foundations of life and family. —Danette Chavez

Last Week Tonight with John Oliver (HBO)
If you were worried about of Stephen Colbert’s move to network TV or Jon Stewart’s possible shift in focus (to directing movies), watching Last Week Tonight with John Oliver will allay your fears. I know it’s not fair to Oliver and his hilarious new show to discuss them in the context of the defection of his fellow “newsmen,” but hear me out. When it launched, Last Week Tonight raised the question of what kind of anchor (or pundit) Oliver would be. Turns out, he’s not really one or the other. And that’s what makes Last Week work—Oliver and company don’t have to worry about adhering to a personality, so they can indulge in the surrealism of puppetry sketches in one moment and then launch a proper tirade (or long-form investigation) in the next. —Danette Chavez

Bob’s Burgers (Fox)
Bob;s Burgers, once sandwiched between the other animated shows in Fox’s Animation Domination lineup, has certainly racked up the recognition this year. Not only did the Belchers finally get a proper primetime spot (move over, Mulaney), but they also picked up the Emmy for Best Animated Show. This year also saw so many near-perfect episodes, including Mazel-Tina and The Equestranauts. The animated medium allows for situations to get wacky and surreal fast and characters to be scattered to the wind and then snapped back for a reunion, which can make for some ambitious storytelling. But the most impressive thing about the show is how fully realized the characters are, even if they are drawings. Parent, child, cook, or customer: everyone has a (sometimes secret) life of their own. —Danette Chavez

Olive Kitteridge (HBO)
On paper Olive Kitteridge sounds an awful lot like homework: a four hour miniseries about an unapologetic sourpuss from Maine achieving old age. Alas, in a year

Its simplicity—apart from a few craftily utilized CGI sequences—

I watched because of the cast—neither Frances McDormand nor Richard Jenkins can do any wrong in my eyes—and I’m awfully glad I did. In what’s been a disappointing year in film, Kitteridge was

Cinematic in scope and a complex, honest portrayal of mental illness.

True Detective (HBO)

Nathan For You (Comedy Central)

Blackish (ABC)